CIHM 

ICI\AH 

Microfiche 

Collection  de 

Series 

microfiches 

(l\1onographs) 

(monographies) 

Canadiin  Instituia  for  Hittorical  Micror*produi:tions  /  Institut  canadicn  da  microraproductions  historiquas 


Technical  and  Bibliographic  Notes  /  Notes  technique  et  bibllographiques 


The  Institute  has  attempted  to  obtain  the  best  original 
copy  available  for  filming.  Features  of  this  copy  which 
may  be  bibllographlcally  unique,  which  may  alter  any  of 
the  Images  In  the  reproduction,  or  which  may 
significantly  change  the  usual  method  of  filming  are 
checked  below. 


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n 

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n 
n 

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Coloured  covers  / 
Couverture  de  couleur 

Govts  damaged  / 
Couverture  endommagte 

Covers  restored  and/or  laminated  / 
Couverture  restaur^  et/ou  pellicula 

Cover  title  missing  /  Le  litre  de  couverture  manque 

Coloured  maps  /  Cartes  gtographiques  en  couleur 

Coloured  Ink  (l.e.  other  than  blue  or  black)  / 
Encre  de  couleur  (i.e.  autre  que  bleue  ou  noire) 

Coloured  plates  and/or  illustrations  / 
Planches  et/ou  illustratk)ns  en  couleur 

Bound  with  other  material  / 
Relle  avec  d'autres  documents 

Only  edition  available  / 
Seule  Mltkm  disponlbie 

Tight  binding  may  cause  shadows  or  distortion 
along  interior  margin  /  La  reliure  serree  peut 
causer  de  I'ombre  ou  de  la  distorsion  le  long  de 
la  marge  int^rieure. 

Blank  leaves  addxl  during  iBStoratkms  may  appear 
within  the  tcx'.  Whenever  possible,  these  have 
been  omitted  from  filming  /  II  se  peut  que  certaines 
pages  blanches  ajout^es  lors  d'une  restauration 
appaialssent  dans  le  texte.  mais,  lorsque  cela  ^tait 
possible,  ces  pages  n'ont  pas  6te  fUmtes. 


L'Instltut  a  mlcrofllm6  le  mellleur  examplaire  qu'll  lul  a 
et6  possible  de  se  procurer.  Les  details  de  cet  exem- 
plalre  qui  sont  peut-6tre  uniques  du  point  de  vue  blbli- 
ographlque,  qui  peuvent  modifier  une  Image  reprodulte, 
ou  qui  peuvent  exiger  une  modifications  dans  la  m6th- 
ode  nomiale  de  filmage  sont  indlquds  ci-dessous. 

I     I      Coloured  pages  /  Pages  de  couleur 

I     I     Pages  damaged/ Pages  endommagees 

I     I      Pages  restored  and/or  laminated  / 
— '      Pages  restaurtes  et/ou  pelteultes 


0 


^1      Pages  discoloured,  stained  or  foxed  / 
Pages  decokir^s,  tachettes  ou  piquees 


I     I     Pages  detached/ Pages  ditachees 

1^      Showthrough  /  Transparence 

I     I      Quality  of  print  varies  / 

' — '      Qualite  inigale  de  I'lmpression 

I     I      Includes  supplementary  material  / 

Comprend  du  materiel  suppl^nientaire 

I  I  Pages  wholly  or  partially  obscured  by  errata 
slips,  tissues,  etc.,  have  been  refilmed  to 
ensure  the  best  possible  Image  /  Les  pages 
totalement  ou  partiellement  obscurcies  par  un 
feuiliet  d'errata,  une  peiure,  etc.,  ont  iti  filmtes 
i  nouveau  de  fafon  a  obtenir  la  mellleure 
Image  passible. 

I  I  Opposing  pages  with  varying  colouration  or 
discoiourations  are  filmed  twtee  to  ensure  the 
best  possible  image  /  Les  pages  s'opposant 
ayant  dss  colorations  variables  ou  des  decol- 
orations sont  fllmtes  deux  fols  afin  d'obtenir  la 
mellleur  image  possible. 


D 


Addttkmai  comments  / 
Commentaires  suppl6mentaires: 


This  inm  l>  filmid  «t  th<  raduction  ratio  etMckad  below/ 

Ct  docwntnt  nt  film*  eu  uux  d*  rMuctian  indiqirf  ei-denoin. 

lOX  UX  1(X 


2DX 


Z2X 


KX 


24  X 


XI 


3JX 


Tha  copy  nimad  hara  has  baan  raproducad  thanks 
to  tha  ganaroaity  of: 

National  Library  of  Canada 


L'axamplaira  fUmt  fut  raproduit  grlca  t  la 
g4ntroait*  da: 

Blbllothe<iua  natlonala  du  Canada 


Tha  ifflagaa  appaaring  hara  ara  tha  bait  quality 
poaaibla  eonaidaring  tha  condition  and  lagibility 
of  tha  original  copy  and  in  kaaping  with  tha 
filming  contract  apacifieaiiona. 


Original  copioa  in  printad  papor  cevara  ara  fllmad 
baginning  with  tha  front  covar  and  anding  on 
tha  laat  paga  with  a  printad  or  illuatratad  impraa- 
(ion.  or  tha  back  covar  whan  appropriata.  All 
othar  original  eopiaa  ara  fllmad  baginning  on  tha 
firit  paga  wNh  a  printad  or  illuatratad  Impraa- 
•ion,  and  anding  on  tha  laat  paga  with  a  printad 
or  illuatratad  improasion. 


Tha  laat  racordad  frama  on  aach  microficha 
ahall  contain  tha  aymbol  — •  (moaning  "CON- 
TINUED"!, or  tha  symbol  V  (moaning  "END"I, 
whiehavar  applias. 

Mapa.  plataa.  charts,  ate.  may  ba  fllmad  at 
ditfarant  roduction  ratios.  Thosa  too  larga  to  ba 
aniiraly  includad  in  ona  axposura  ara  fllmad 
baginning  in  tha  uppar  laft  hand  cornar.  taft  to 
right  and  top  to  bottom,  aa  many  framas  as 
raquirad.  Tha  following  diagrams  illustrata  tha 
mathod: 


Las  imagas  suivantas  ont  M  raproduitss  svac  la 
plus  grand  soin.  eompta  tanu  da  la  condition  at 
do  la  nattata  da  I'aaampiaira  film*,  at  an 
eonf  ormlta  avae  laa  conditiona  du  contrat  da 
fllmaga. 

Laa  axamplalraa  originaux  dont  la  couvartura  an 
papiar  aat  imprimOa  aont  filmas  an  commancant 
par  la  pramiar  plat  at  an  tarminant  soit  par  la 
darnMra  paga  qui  comporta  una  amprainta 
d'Impraaaion  ou  d'lllustration,  soit  par  la  sacond 
plat,  salon  la  eaa.  Tous  las  sutras  axamplairas 
originaua  sont  filmOs  an  eommanf ant  par  la 
pramiOra  paga  qui  comporta  una  amprainta 
d'impraasion  ou  d'lllustration  at  an  tarminant  par 
la  darnitra  paga  qui  comporta  una  talla 
amprainta. 

Un  daa  symbolas  suivanta  apparaitra  sur  la 
darnMra  imago  da  chaqua  microficha.  salon  la 
caa:  la  symbols  —^  signifia  "A  SUiVRE".  la 
symbola  ▼  signifia  "FIN". 

Las  eartaa,  planchaa.  ubiaaux.  ate.  pauvant  itra 
filmOs  i  daa  Uux  da  rMuction  diffaranis. 
Lorsqua  la  document  aat  trap  grand  pour  itra 
raproduit  an  un  saul  clichi,  11  ast  fiima  i  partir 
da  I'angia  suptriaur  gaucha,  da  gaucha  k  droita, 
at  da  haut  an  baa,  an  prenant  la  nombra 
d'Imagas  nOcaaaaira.  I.as  diagrammas  suivants 
illuatrant  la  mOthoda. 


1  2  3 


1 

2 

3 

4 

5 

6 

MKaocorr  hbouition  ibt  cH«n 

(ANSI  ond  ISO  TEST  CHAKT  No.  J) 


y^|u  m. 


/APPLIED  IIVMGE    In, 

'85J  Eail  Mom  StrMl 

Rochwttr     Nam   York         14609       USA 

(716)  *82  -  0300  -  Phon. 

(716)  2M- 5989 -Fax 


AN    APOSTLE 


PERSOHAi-    HARMONIZING 


BLISS    CARMAN 


AN  APOSTLE  OF  PERSONAL  HARMONIZING 


The  flrst  decade  of  our  preient  century  hM  been  more  remarkable, 
perbapi,  for  Its  lenee  of  spiritual  unrert  and  awakening  than  for  any 
other  one  thing.  Great  aa  the  advanoe  has  been  In  science  and  in- 
vention in  the  past  fifty  yeare,  there  are  everywhere  signs  of  an  Im- 
pending progress  still  greater,  In  the  region  of  personal  development 
and  power.  The  most  thoughtful  contemporary  writers— Maeterlinck, 
.Maurice  Hewlett,  Edward  Carpenter,  for  instance— are  supremely  con- 
cerned with  spiritual  problems,  with  flnding  the  soundest  basis  for 
happiness.  Their  writings  are  Inspired  on  every  page  by  the  deepest 
considerations  for  the  welfare  of  man's  spirit.  Their  thought  Is  radi- 
cal, unhampered,  tnd  splendidly  sincere.  They  are  bent  only  on  mak- 
ing the  world  a  better  place  to  live  In,  by  making  men  more  In  love 
with  it  and  more  adequately  equipped  to  meet  the  tasks  of  life  with 
gladnes-  and  success.  No  writer  today  can  win  our  serious  attention 
who  does  not  bring  us  a  message  of  hope — a  light  tor  the  way. 

More  than  that,  there  Is  In  these  three  modern  prophets,  along 
with  their  concern  for  spiritual  things,  a  very  definite  sense  of  the 
ImporUnce  of  physical  things.  They  are  tru»  children  of  the  nine- 
teenth century  in  their  faith  In  science,  and  in  their  reverence  for 
the  physical  life  end  conduct  of  man,  and  the  Influence  of  these  on 
his  spiritual  growth.  iHewleU  In  one  of  his  latest  books  says:  "It  is 
an  error  to  suppose  tiiat  discomfort  is  holy.  Holiness  is  harmony. 
Men  have  lost  realisation  of  the  sanctity  of  the  body."  And  all  of 
Edward  Carpenter's  teaching  has  the  same  trend;  It  emphasizes  the 
necessity  of  physical  fitness  for  the  beet  development  of  mind  and 
splrH. 

Curiously  enough,  America  has  made  but  small  contribuUon  to 
this  newer  educational  movement.    You  will  look  through  the  books 


of  our  popular  m«n  of  letteri  In  vain  for  any  such  Imputloned  tMrcta- 
IngM  for  the  spring!  of  happlnets.  or  uOf  mw  word  for  a  perplexeu 
generation.  It  U  bere,  however.  In  a  very  original  form.  In  the  work 
of  .1  remarkable  woman  who  hai  been  teaching  uad  lecturing  for  the 
paet  tfiin  or  twelve  yean,  but  In  w  Inconipicuous  a  way  that,  while 
ibe  has  become  an  Influence  among  teacberi,  her  name  la  but  little 
known  to  the  gen^.al  public.  Uet  me  flrtt  lay  eomethlng  of  Mn. 
King  herielt,  since  the  personal  note,  the  living  word,  is  so  important 
a  part  of  her  creed.  It  is  not  alone  by  learning  the  truth,  she  would 
say,  but  by  embodying  It  In  dally  practice,  that  we  are  helped  and 
heartened. 

Mary  Perry  King  is  of  typical  American  parentage.  Her  father, 
the  Hon.  Albertus  Perry,  was  of  an  old  Puritan  family  from  western 
MaBsacbusetts,  a  graduate  of  Williams  College,  and  at  the  time  of  his 
daughter's  birth  a  prominent  lawyer  in  New  Yorit  state.  Her  mother 
was  of  Huguenot  extraction.  So  that  she  combines  the  New  England 
( apacity  for  idealism  and  bard  thinking  with  the  Latin  vivacity  and 
brilliancy  of  temperament.  While  still  in  her  teens  she  graduated 
from  the  Oswego  Normal  College,  and  was  at  once  made  a  teacher 
of  reading  in  that  institution,  where  she  had  most  of  her  former  teach- 
ers in  her  classes.  Her  genius  for  expression  had  been  dlscovereO. 
After  that  she  graduated  from  tbr.  Philadelphia  College  of  Oratory; 
and  still  later,  having  mastered  Bell's  fundamental  and  epoch-making 
system  of  Visible  Speech,  she  further  perfected  her  voice  and  dfction 
in  a  course  of  study  in  Paris  with  the  French  master,  Sbriftlla, 

Good  diction,  n  cultivated  and  clear  enunciation,  in  her  theory  of 
education,  Is  not  merely  an  important  accomplishment;  it  has  an  even 
greater  importance  as  a  means  of  developing  powers  of  appreciation, 
and  as  a  factor  In  general  culture.  Speech  is  one  of  the  most  pri- 
mary arts,  depending  very  intimately  on  physical  well-being  for  Its 
adequate  production,  and  giving  at  the  same  time  an  immf»dlate  vent 
for  the  expression  of  all  shades  of  thought  and  feeling.  In  an  of 
Mrs.  King's  physical  training  of  women,  speech  culture  has  always 
played  a  prominent  part.    She  is  herself  a  wonderful  reader  and  a 


Huent  »p*ikar,  wUb  a  mattarly  oommaDd  of  pure  ISiif  llih  and  a  itolui 
for  tta«  exact  word  and  the  bappy  phrase.  Tbli  capacity  for  ready 
and  apt  'erbr.l  expreiiton,  at  the  comimiDd  of  a  forceful  and  pervastvr 
penonu-.j,  makes  her  an  tmpreailve  preaence  in  a  draw  g  room  or 
on  a  platform.  But  any  Id*  »  o*  her  would  be  quite  wrong  which 
omittfd  her  irrepreaaible  comedy,  au  ln«xhauitible  merrlmen:  of  tplrlt, 
always  ready  to  break  out  and  play  about  her  lubjact  with  lumtnoua 
charm. 

I  apoke  of  Mra.  Klnc'i  tenlua  for  the  right  vord.  She  has  that 
much  rare  -  gift,  a  genius  for  right  motion.  A  large  part  of  any 
woman's  genius  ia  In  reading  character,  a  power  we  call  intuition, 
which  seems  almost  miraculous  to  the  mascuHne  mind,  and  li  In  real- 
ity an  aptitude  for  reading  motion  and  Interpreting  unconscious  ex- 
pression, for  heeding  unintentional  accent  and  Inflection — m  aptitude 
so  old  and  well  practiced  that  it  has  become  actually  Instinctive.  This 
Instinct  for  right  expressive  motion  Is  pre-eminently  the  actor's  talent ; 
and  a  knowledge  of  all  its  subtleties,  along  with  her  trained  knowledge 
uf  tbi'  voice,  has  made  a  large  p'art  of  Mrs.  King's  success.  It  hat' 
been  her  lifelong  study  under  the  most  distinguished  authorities  on  the 
subject  at  home  and  abroad. 

For  beveral  years  iifter  1900  .Mrs.  King  maintained  a  gymnasium 
for  women  in  New  York,  where  her  work  was  carried  on  in  her  usual 
liberal  and  enthusiastic  way,  under  conditions  of  sanitation  aud  beau- 
tiful bousing  which,  it  seemed  to  her,  the  training  of  persouallty  de- 
serves. Its  success  was  attested  by  the  Immediate  gain  In  strength 
and  well  being  of  her  pupils,  women  of  all  classes  and  occupations — 
women  weary  with  social  rounds  who  were  glad  to  pay  for  their  bene- 
fit, and  young  women  overworked  in  their  cullloKs  who  were  gladly 
given  their  benefit  gratt    ously. 

Mrs.  King,  however,  was  not  fully  satisfied  with  her  gymnasium. 
She  bad  mate  use  of  &  minimum  amount  of  machinery,  laying  moBt 
stress  on  tree  gymnastics,  breathing,  and  voice  work;  but  she  became 
convinced  that  the  most  useful  medium  of  culture,  for  ber  purposcH. 
was  interpretative  dancing.     The  gymnasium  was  closed,  and  she  once 


mortt  became  ft  tudent  In  leftrch  of  further  truth.  A  trip  aroiinil 
the  world  gave  her  opportunity  to  itudy  the  women  of  the  Orient  and 
to  aee  their  daneei  In  their  native  aectlnc  and  after  her  return  la 
America  the  apent  a  year  of  itudy  In  adjuatlni  her  new  knowledge  tn 
Weatem  requlrementj.  Thia  gave  her,  Anally,  command  of  all  the  arte 
■he  thought  neceaaary  for  carrying  out  her  method  of  education.  Since 
then  her  daya  have  been  given  to  teaching— In  winter  In  New  York 
with  mixed  claaaea  and  private  pupl'a;  In  aummer  with  araaller  claaaen 
of  teachere  and  advanced  puplle.  In  the  Catakllle,  where  ahe  haa  ea- 
labllahed  a  cummer  echool.  And.  aa  alwaya,  a  large  part  of  her  energy 
li  devoted  to  mlaalon  work  In  her  aubiect.  with  free  claaaea  for  younit 
working  women,  aupported  by  voluntary  contributlona. 

I  have  omitted  ao  far  to  aay  anything  of  the  underlying  principle, 
or  phtloaophy,  on  which  all  Mra.  Klng'a  work  reeta.  and  which  glvea  It 
the  great  dlatlnctlon  I  have  claimed  for  It.  Suted  briefly,  her  theory 
of  education  baaea  Itaelf  on  a  trinltarian  conception  of  human  nature 
and  human  need.  Man  la  a  creature  with  three  pronounced  phaaea  ol 
being:  the  phyilcal,  the  mental,  and  the  emotional  or  aplrltual.  And 
yet  ao  Inaeparable  are  theae  three  naturea,  ao  bound  and  knit  together 
in  all  their  requlrementa.  functlona,  and  aatlafactlona.  that  they  form 
not  merely  a  triple  alliance,  but  a  true  trinity.  To  neglect  one  la  to 
Injure  all.  And  only  by  cultivating  all  In  equal  proportion  can  any- 
thing like  adequate  education  be  obtained  and  a  aymmetrloal  peraon- 
ality  developed. 

There  have  been  agea  when  the  aoul  of  the  world  waa  bent  on 
winning  happlneaa  through  the  aenaea,  when  the  aatlafactlona  of  the 
mind  and  the  apirlt  were  counted  aa  nothing.  There  have  been  ages 
when  men  were  concerned  with  the  ctlBalra  of  the  apirlt  alone,  when 
rellgloua  ecataay  waa  accounted  all  In  all,  when  art  and  aclencea  and 
material  comtorta  were  Ignored,  and  the  aacetic  cared  only  tor  hla 
Impoaalble  dream.  Laatly  there  have  been  agea  devoted  overmuch  to 
aclence,  agea  of  akepticlam,  barren  alike  of  rellgloua  ardor  and  relln- 
Ing  art.  All  theae  have  been  partial  and  Inadequate  racial  eiperl- 
•ncea.    They  muat  give  place  to  the  next  great  atep  forward  In  hu- 


i 


man  proems,  tba  idea  of  a  ■ymmetrlcal  p«rf«ction,  tbe  raallaatlon 
that  parfacHon  can  n<*«r  b*  reached  thronili  renounclu  »r  «lolaliD( 
any  one  of  the  tbree  eaeenttul  factors  In  man'a  triuni  natr.re,  bat  onlv 
tbrooffb  duly  recognlslni  them  as  equal  and  bestowloi  upon  tbom 
equal  rererence,  sare,  and  education. 

This  trlunlstJc  Idea  Is  as  fundamental  as  tbe  idea  of  evolution: 
and  It  bears  the  same  relation  to  education  that  evolution  do«e  to  sci- 
ence. While  tbe  need  of  physical  tralnin  is  lenerally  recotnlsed. 
there  Is  almost  no  realisation  of  Irs  coherent  Influence  upon  character 
bulldini  and  social  evolution,  of  iu  value  as  s  flne  art,  and  of  Itr 
potentiality  a*  a  part  of  every  liberal  education.  Even  physical  aducs- 
tors  themielvos  seem  seldom  jave  been  aware  of  the  tremendous  In 
fluence  they  might  have  wielded.  Their  systems  for  the  most  part 
look  no  furthe.  than  muscle-making;  and  we  are  still  confror*ed  with 
the  absurd  anomaly  of  American  girls  and  women  trained  in  tbe 
wooden  maneuvers  of  German  or  Swedish  r  litary  drUI.  It  Is  only 
our  wiser  teachers,  like  Dr.  D.  A.  Sargent  >  Mary  Perry  King,  who 
have  seen  the  wrong  of  such  methods,  and  hav«  modified  foreign  sys- 
tems to  native  needs  and  growing  ideals.  In  such  ready  soil  the  :rl- 
unistlc  ideal  of  general  educstlon,  and  the  realisation  of  phy  \l  edv 
oatlon  as  as  art,  ara  bearing  fruit. 

To  quote  again  from  Maurice  Hewlett.  "It  Is  no  harder  for  a 
woman  to  make  herself  a  work  of  anpreme  art  than  for  a  man  to 
paint  a  masterpiece  or  to  write  a  classic.  But  she  must  cultivate  and 
use  her  genius  for  aelf-expresslon.  What  material  to  work  with— Ine 
moving,  breathing,  speaking  medium.  Infinitely  more  elastic  tlian 
painter's  «tuS,  Infinitely  more  potent  than  aught  Inanimate,  this  be- 
ing, warm,  tinged  with  life.  Instinct  with  meaning,  rhythmic,  eh>quent' 
You  can  be  picture,  form,  poem,  symphony,  In  one.  You  address  the 
mind  through  every  sense.  Every  gesture  is  charged,  every  throb 
can  express,  every  word  he  a  phrase,  every  look  a  tone,  and  every 
tone  a  revelation." 

That  Is  tba  Ideal.  "Ah,  but  how?"  you  may  ask.  What  teaching 
can  accompllab  this?    Persons^  harmonlilng  educates  Jnat  such  In- 


dirlduAl  genius.  It  took  an  intereated  and  plaatic  but  perfectly  un- 
trained student,  and  in  six  months  placed  her  In  the  front  ranks  of 
interpretative  dancers  in  the  most  critical  drawing  rooms  and  studios 
of  New  York,  In  original  dances  created  for  her  hy  her  teacher;  and 
a  little  later  secured  her  a  place  In  the  New  Theater  Company.  But 
personal  harmonizing  does  not  find  Its  fullest  scope  in  training  danc 
era;  that  la  only  an  instance  of  its  special  possibilities.  It  takes 
numbers  of  rank  and  file  public  school  children,  and  in  six  months,  at 
two  lessons  a  w^ek,  gives  them  command  of  fine  personal  carriage, 
habitual  unity  of  thought,  feeling,  and  expression,  through  co-ordinat- 
ing their  motion  and  speech.  It  Is  showing  teachers  how  to  get  prompt 
and  perceptible  Improvement  In  the  personalities  of  their  students. 
And  because  it  enlists  and  cares  for  all  the  powers,  it  gives  its  pupils 
a  bappy  and  mellow  culture  such  as  no  other  education  has  been  able 
to  secure.  A  method  of  education  which  not  only  helps  men  and  wo- 
men to  go  tiirough  their  liail;--  tasks  with  greater  ease  and  efficiency, 
but  enables  them  lo  pLt  h(>^rt  In  all  their  work,  to  realize  their  own 
genius,  and  to  find  gladmss  at  every  turn,  is  what  we  have  been  look- 
ing tor. 

The  ain-  of  Mrs.  Kings  woTli  may  be  said  In  a  word  to  he  the 
educating  oi  individual  genius;  to  give  people  freedom  of  spirit  by  plac- 
ing at  their  disposal  a  healthy  body  freed  and  attuned  to  the  finest 
uses  of  thought  and  feeling.  That  method  of  education  Is  surely  best 
which  takes  cognizance  of  the  entire  personality  and  attempts  to  fit 
It  for  predestined  uses.  To  laam  to  walk  and  move  well,  to  breathe 
iind  speak  efllciently— these  are  rudiments  of  education  that  have  been 
strangely  neglected.  To  reinstate  them  in  their  place  and  to  relate 
them  to  symmetrical  general  culture.  Is  our  need.  The  body  cannot 
thrive  on  futile  ai.d  disordered  exertion,  nor  the  spirit  be  refreshed 
liy  silly  and  pointless  exercise.  And  because  the  failure  of  the  old 
order  of  physical  education  Is  being  very  generally  felt,  this  new 
vitalizing  ideal  of  triune  culture  of  which  I  am  speaking  is  spreading 
tltrough  the  country  like  a  message  of  reprieve. 

If  1  understand  Mrs.  King's  philosophy  rightly,  (he  would  say  that 


unity,  order  of  motion,  and  poiae,  are  three  main  considerations  in 
her  scheme  of  training.  To  preserve  and  foster  one's  unity  of  being; 
not  to  he  distracted  nor  to  suffer  a  partial  culture:  not  to  develop  the 
head  at  the  expense  of  the  heart,  nor  the  hand  at  the  cost  of  either. 
To  be  a  single,  united  being  in  all  our  aspirations,  thoughts,  and  ac- 
tions; to  be  glad  all  over,  to  be  intelligent  all  over,  to  be  efficient 
through  and  through.  This  is  to  realize  one's  entire  being  as  a  unit. 
"Isolation  of  parts"  1b  a  phrase  significant  of  much  that  was  wrong 
in  old-fashioned  physical  teaching,  indeed  in  old-fashioned  education 
generally.  To  stand  immovable  on  one  leg  while  performing  gyrations 
with  the  other,  or  to  awing  Indian  clubs  while  the  whole  body,  except 
the  arms  was  held  rigid,  might  be  excellent  tminlng  for  St.  Vltus'a 
dance,  Mrs.  King  would  say,  but  was  ridiculous  preparation  for  the 
art  of  dally  living. 

By  order  of  motion,  or  sequence  of  procedure,  is  meant  this:  that 
there  must  be  what  Mrs.  King  calls  spiritual  lead  in  all  ideal  effort,  in 
all  our  movements,  undertakings,  and  actions.  It  Is  the  order  of 
nature;  first,  energy,  wish,  caring,  choice:  then  thought,  aim,  direc- 
tion; and  lastly,  realization  in  accomplishment.  To  follow  this  order 
is  to  secure  the  utmost  natural  economy  of  effort,  efficiency  of  result, 
and  pleasure  in  occupation;  that  is  to  say,  the  utmost  beauty,  helpful- 
ness, and  happiness  in  every  personal  act  and  in  all  human  endeavor. 
Having  realized  unity  in  ourselves,  to  give  it  habitual  poise  is 
our  further  task.  Poise  of  personality  involves  poise  of  the  person, 
an  unwabbiing  command  of  our  bodies;  and  this  in  turn  can  only  be 
maintained  through  muscular  ability  and  a  firm  base  of  support.  That 
implies  unrestricting  clothing  and  footgear— for  women  particularly 
some  form  of  drees  that  shall  not  obstruct  deep  breathing  nor  mar  the 
soft,  free  grace  of  the  throat  and  neck,  and  broad-toed,  heelless  shoes 
that  shall  give  an  adequate  footing  and  freedom  for  the  moving  body. 
It  is  an  ideal  that  does  not  sound  promising  to  the  average  woman,  and 
certainly  most  dress  reforms  have  not  been  altogether  happy.  But 
Mrs.  King,  who  has  given  a  great  deal  of  thought  to  this  branch  of  her 
subject,  seems  to  have  solved  the  mysterious  difficulty  in  some  for- 


tunat*  war  without  aacrltlcing  anything  of  tba  grace  and  axqulaltaneai 
which  rtgbtir  enough  belong  to  women.  I  auppoae  it  la  her  Inherent 
Latin  taat«  which  enablea  her  to  be  radical  without  being  obtrualve, 
and  eaaenUal  without  being  eccentric.  She  oertalnljr  oarrlea  out  her 
uncompromialng  Ideala  with  great  tact  and  graclousneaa.  In  her 
phlloBophy  of  lite  the  moat  needed  refonna  for  modem  woman  could 
hardly  be  called  a  gain,  unleaa  they  could  be  aecured  without  Impair- 
ing her  Immemorial  dignity  and  charm.  Uke  many  thoughtful  people, 
ahe  aeea  that  American  women  are  In  aome  danger  of  aelling  their 
Wrthrigbt  for  a  meaa  of  ^ottage;  and  while  her  ardent  life  la  given 
to  forwarding  their  eaaential  Interesta  and  upholding  for  them  unfal- 
tering ideala,  many  of  the  more  consplcuoua  "women'a  movementa" 
And  her  indifferent.  She  la  too  deep  a  thinker— I  ahould  like  to  aay 
too  full  of  profound  racial  wisdom— to  be  carried  away  by  popular 
clamor. 

Thla  la  not  the  least  of  my  reasona,  when  I  try  to  apeak  critically 
of  her  teaching,  for  giving  her  a  place  among  modem  thlnkera  beaide 
the  wlae  and  aerene  Maeterlinck. 


RttrtnHi  fnm  "  CimJ  HixutketpiRt."  fat  Mtt,    1911. 


